Franco Vassallo Vidéos
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2024-05-09
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Teatro Comunale Bologna Verdi Asher Asher Fisch Gregory Kunde Franco Vassallo
Serena conduce operaclassica rassegna stampa per il teatro comunale di Bologna TCBO: DEBUTTA L’OTELLO DI VERDI CON LA REGIA DI GABRIELE LAVIA FERMATO DALLA PANDEMIA Sul podio Asher Fisch; tra i protagonisti Gregory Kunde, Roberto Aronica, Mariangela Sicilia e Franco Vassallo Dal 24 al 30 giugno al Teatro Comunale di Bologna. (http•••)
Van Dyck Charles Lamoureux Debussy Bayreuth Massenet Kienzl Henderson Antonio Smareglia Vassallo Schumann Concerts Lamoureux Hofoper Metropolitan Opera Opera Chicago Opéra Comique Covent Garden Chicago Opera House 1861 1884 1887 1888 1892 1897 1898 1902 1903 1905 1911 1913 1923
Ernest van Dyck +••.••(...)) was a Belgian Heldentenor whose career took him to major theaters on both sides of the Atlantic. Born Ernest Marie Hubert van Dijck in Antwerp, his career path was a somewhat complicated one. Originally, he intended to pursue a legal career and began his studies at the law schools of Catholic University of Louvain and Vrije Universiteit Brussel. While in school van Dyck discovered his love of writing, which led him to abandon his legal studies in favor of a position as editor of different French and Belgian newspapers. While working as editor of Le Patrie, he became involved in Paris’ music scene. He began studying voice and in 1884 was hired by famed conductor Charles Lamoureux to perform on his celebrated concert series. The Concerts Lamoureux concentrated on the music of Wagner and van Dyck developed a fine reputation in this music during his years with this series. There seems to be some disagreement as to exactly when and where van Dyck made his operatic stage debut. It is most commonly accepted that the tenor’s debut was in the role of Azaël in the premiere of Debussy’s L’Enfant Prodigue in Paris during the summer of 1884. Van Dyck’s first foray into a complete Wagner role (he had been performing excerpts for a few years with Lamoureux) was the title role of Lohengrin in the spring of 1887, also under Lamoureux. In the audience was Wagner’s widow Cosima, who was so taken with the young tenor that she invited him to sing Parsifal at Bayreuth the next season. This led to a long association +••.••(...)) with the festival. Van Dyck’s reputation spread quickly, leading to engagements with other major companies including the Vienna Hofoper, Opéra de Paris and the Opéra-Comique, Théâtre Royal de la Monnaie in Brussels and London’s Covent Garden. On February 16, 1892, he created the title role in Massenet’s Werther (albeit in the German version by Max Kalbeck) in Vienna and sang Mathias in the London premiere of Kienzl’s Der Evangelimann in 1897. The following year, van Dyck made his North American debut during a series of pre-season performances given by the Metropolitan Opera at the Chicago Opera House. His official Met debut occurred a few weeks later on November 29, 1898 in the title role of Wagner’s Tannhäuser. He was not well received at first and garnered some rather scathing reviews. W.J. Henderson of the New York Times, commenting on a December 19 Die Walküre, stated that, “When people think that such work as he [van Dyck] did last night was correct, they misconceive Wagner utterly…It is not necessary to sing Wagner's music just a fraction of a semitone off the pitch all the time.” Henderson added, “Aside from his very bad singing, Mr. Van Dyck gave a proper interpretation to his role. He always acts admirably and he is interesting, in spite of his faults.” Gradually, the New York audiences and critics warmed up to van Dyck. It was primarily his acting, however, and not his singing that endeared him to them. While at the Met, the tenor sang 105 performances of seven operas… Tannhäuser, Tristan und Isolde, Die Walküre, Lohengrin, Das Rheingold, Faust and Manon…plus eight concerts. Following an April 19, 1902 matinee of Tristan und Isolde at the Baltimore Music Hall, van Dyck’s Met career came to an end. Ernest van Dyck returned to Europe, where he continued his stage and concert career. However, a decade and a half of singing the most punishing repertoire had taken a toll on his voice. Although he was only in his early 40s, it was apparent that his best days were well behind him. Despite this, van Dyck was able to extend his career for another decade by relying on his acting ability and stage presence. His rather varied repertoire, in addition to the aforementioned Wagnerian roles, included the leads in such works as Roméo et Juliette, La Damnation de Faust, La Navaraisse, Le Chevalier d’Harmental, Pagliacci and Ernani, He also created the tenor leads in Isadore de Lara’s Moïna and Antonio Smareglia’s Il Vassallo di Szigeth. He retired from performing in 1913 and spent his remaining years as a voice teacher. He passed away in Anvers on August 31, 1923 at the age of 62. Ernest van Dyck’s recordings, fewer than a dozen them, were made for Pathé, Fonotipia and Homophone between 1903 and 1905. Sadly, his visits to the recording studio took place after the voice was in serious decline, making it difficult to gain any real knowledge of the tenor’s vocal artistry. Still, this recorded legacy includes a pair of creator’s discs from Werther and is of tremendous historical importance. In this rare recording, van Dyck sings "Ich grolle nicht" (or "Ne gronde pas", as we hear it in French), No. 7 in Schumann's Dichterliebe. This was recorded in Paris for the Homophone label in 1905.
Van Dyck Charles Lamoureux Debussy Bayreuth Massenet Kienzl Henderson Antonio Smareglia Vassallo Schumann Concerts Lamoureux Hofoper Metropolitan Opera Opera Chicago Opéra Comique Covent Garden Chicago Opera House 1861 1884 1887 1888 1892 1897 1898 1902 1903 1905 1911 1913 1923
Ernest van Dyck +••.••(...)) was a Belgian Heldentenor whose career took him to major theaters on both sides of the Atlantic. Born Ernest Marie Hubert van Dijck in Antwerp, his career path was a somewhat complicated one. Originally, he intended to pursue a legal career and began his studies at the law schools of Catholic University of Louvain and Vrije Universiteit Brussel. While in school van Dyck discovered his love of writing, which led him to abandon his legal studies in favor of a position as editor of different French and Belgian newspapers. While working as editor of Le Patrie, he became involved in Paris’ music scene. He began studying voice and in 1884 was hired by famed conductor Charles Lamoureux to perform on his celebrated concert series. The Concerts Lamoureux concentrated on the music of Wagner and van Dyck developed a fine reputation in this music during his years with this series. There seems to be some disagreement as to exactly when and where van Dyck made his operatic stage debut. It is most commonly accepted that the tenor’s debut was in the role of Azaël in the premiere of Debussy’s L’Enfant Prodigue in Paris during the summer of 1884. Van Dyck’s first foray into a complete Wagner role (he had been performing excerpts for a few years with Lamoureux) was the title role of Lohengrin in the spring of 1887, also under Lamoureux. In the audience was Wagner’s widow Cosima, who was so taken with the young tenor that she invited him to sing Parsifal at Bayreuth the next season. This led to a long association +••.••(...)) with the festival. Van Dyck’s reputation spread quickly, leading to engagements with other major companies including the Vienna Hofoper, Opéra de Paris and the Opéra-Comique, Théâtre Royal de la Monnaie in Brussels and London’s Covent Garden. On February 16, 1892, he created the title role in Massenet’s Werther (albeit in the German version by Max Kalbeck) in Vienna and sang Mathias in the London premiere of Kienzl’s Der Evangelimann in 1897. The following year, van Dyck made his North American debut during a series of pre-season performances given by the Metropolitan Opera at the Chicago Opera House. His official Met debut occurred a few weeks later on November 29, 1898 in the title role of Wagner’s Tannhäuser. He was not well received at first and garnered some rather scathing reviews. W.J. Henderson of the New York Times, commenting on a December 19 Die Walküre, stated that, “When people think that such work as he [van Dyck] did last night was correct, they misconceive Wagner utterly…It is not necessary to sing Wagner's music just a fraction of a semitone off the pitch all the time.” Henderson added, “Aside from his very bad singing, Mr. Van Dyck gave a proper interpretation to his role. He always acts admirably and he is interesting, in spite of his faults.” Gradually, the New York audiences and critics warmed up to van Dyck. It was primarily his acting, however, and not his singing that endeared him to them. While at the Met, the tenor sang 105 performances of seven operas… Tannhäuser, Tristan und Isolde, Die Walküre, Lohengrin, Das Rheingold, Faust and Manon…plus eight concerts. Following an April 19, 1902 matinee of Tristan und Isolde at the Baltimore Music Hall, van Dyck’s Met career came to an end. Ernest van Dyck returned to Europe, where he continued his stage and concert career. However, a decade and a half of singing the most punishing repertoire had taken a toll on his voice. Although he was only in his early 40s, it was apparent that his best days were well behind him. Despite this, van Dyck was able to extend his career for another decade by relying on his acting ability and stage presence. His rather varied repertoire, in addition to the aforementioned Wagnerian roles, included the leads in such works as Roméo et Juliette, La Damnation de Faust, La Navaraisse, Le Chevalier d’Harmental, Pagliacci and Ernani. He also created the tenor leads in Isadore de Lara’s Moïna and Antonio Smareglia’s Il Vassallo di Szigeth. He retired from performing in 1913 and spent his remaining years as a voice teacher. He passed away in Anvers on August 31, 1923 at the age of 62. Ernest van Dyck’s recordings, fewer than a dozen them, were made for Pathé, Fonotipia and Homophone between 1903 and 1905. Sadly, his visits to the recording studio took place after the voice was in serious decline, making it difficult to gain any real knowledge of the tenor’s vocal artistry. Still, this recorded legacy includes a pair of creator’s discs from Werther and is of tremendous historical importance. In this recording, van Dyck sings "Ich grolle nicht" from Schumann's Dichterliebe. This was recorded in Paris for the Fonotipia label in 1905.
Elisso Virsaladze Robert Schumann Ponchielli Vassallo Teatro Ponchielli 2018
Domenica 28 ottobre 2018 Teatro Ponchielli di Latina. La pianista Elisso Virsaladze ricorda con un concerto straordinario Riccardo Cerocchi, storico presidente e animatore della Fondazione Campus Internazionale di Musica. “E’ stato un desiderio di Elisso – racconta Elisa Cerocchi, che oggi presiede la Fondazione -. Mi ha telefonato dicendomi che voleva tenere un concerto per Riccardo. Le siamo molto grati di questo pensiero: non capita spesso di trovare tanta generosità, anche se nella loro vita i miei genitori hanno avuto tante testimonianze di affetto e gratitudine da parte di grandi artisti”. Negli anni la sua simpatia verso la famiglia Cerocchi si è trasformata in salda amicizia. La Virsaladze è presente nei momenti importanti che impreziosisce con concerti: arriva a Latina quando Riccardo Cerocchi presenta il suo primo libro Il vassallo della musica e quando il Campus riceve il Premio Presidente della Repubblica. Elissò Virsaladze, pianoforte Foto: Cesare Galanti Sound engineer: Roberto Terelle •••@•••
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